In 1994, the film-maker Lee Tamahori delivered one of the most significant debuts of that era, firing on all six cylinders with his heartbreaking social-realist melodrama Once Were Warriors. This family represent a working-class Maori family in South Auckland: the actor is the boozing, brawling, bragging dominant welfare claimant Jake, who returns from drinking in the pub with his weak followers to intimidate and abuse his wife Beth, played by Rena Owen, and their kids. He shows no concern to the future of his older boys who have drifted into gang life and illegal activities, as well as his gentle daughter the girl, who shows promise as a storyteller. A son gets gang tattoos; the other is sent to a youth detention where he is at least educated in the traditions of Maori culture – the war dance and the taiaha warrior spear – and learns self-worth and self-respect. But back at Jake’s chaotic house, the daughter is raped by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and Beth passionately confronts the wretched Jake: “Our ancestors used to be fighters, but unlike you, Jake, they were individuals with honor, dignity; people with spirit …”
Emotional Violence and Confident Direction
Tamahori unleashed with such intense drama, and delivered powerful blows with the pub scenes, domestic moments and gang initiation rituals, directing them with confidence and verve. He created a gutsy, heartfelt picture with a distinctly 90s streak of edginess. It was a hit with viewers and critics, and – for good or ill – deeply impressed industry executives in Hollywood who recognized how Tamahori could bring this energy and talent to commercial projects.
American Films and Varied Projects
Stateside, the director made the dark mystery Mulholland Falls, about aggressive police officers who ignore protocol, and then a script by Mamet survival thriller The Bear with the actor and his co-star as characters who journey through the wilderness after a plane crash. (This film gained cult status when its producer he wrote humorously about the turbulent production of shooting with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a serviceable thriller, and he earned again directing the second in the XXX series XXX State of the Union.
Bond Film and Professional Changes
Yet the peak, or perhaps the low point, of his Hollywood career was taking on the 007 film Die Another Day in 2002, with Pierce Brosnan; it was the installment mocked for having the poorest device in 007 history – the invisible car. Why would anyone need such a car, viewers asked? It was a vehicle that makes it difficult to recall where you parked it.
Subsequent Projects and Comeback
After this, Tamahori discovered some more interesting form. His The Devil’s Double in 2011 featured the actor in the twin roles of Saddam Hussein’s brutal offspring Uday and also Uday’s decoy double, used to protect the young tyrant-princeling from assassination or kidnapping: it was a forceful, engaging movie which sidestepped typical double cliches. In subsequent times, he returned to the theme of indigenous traditions, making The Convert in 2023, collaborating with Australian critic-turned-screenwriter Shane Danielsen. Tamahori was an outstanding director – but it was his debut, the heartfelt Once Were Warriors, that was his greatest work.
